With 232 pages and an expanded 12″ by 12″ format, our biggest print issue yet celebrates the people, places, music, and art of our hometown, including cover features on David Lynch, Nipsey Hussle, Syd, and Phoebe Bridgers’ Saddest Factory Records, plus Brian Wilson, Cuco, Ty Segall, Lord Huron, Remi Wolf, The Doors, the art of RISK, Taz, Estevan Oriol, Kii Arens, and Edward Colver, and so much more.
Devendra Banhart, Flying Wig
With the aid of producer Cate Le Bon, the psych-folk songwriter’s Mexican Summer debut swaps crinkly textures for something uncharacteristically glossy.
Kylie Minogue, Tension
The electropop trailblazer’s 16th LP reignites her commitment to small reinventions in order to suit the modern pop landscape.
The Singaporean songwriter and producer diverges from the predominantly gitchy stylings of their previous release and explores heavenly sounding guitar-based melodies.
Following one of his largest-ever solo shows, the street art icon reflects on how he got here.
As time marches violently on, John Maus is seeming less and less a bursting aggro-eccentric and more and more the sane elder dwelling at the end of the hall.
With Archy Marshall, the question was never “if” but rather “when,” and thanks to “The OOZ,” the answer is firmly “now.”
Nika Danilova returns to her roots.
Once again, the man born Ariel Rosenberg manages to trudge through his own pink slime just in time to catch a glimpse of the gray sunset.
On the Animal Collective leader’s latest solo effort, there’s still dense canopy to explore.
“Rocket” exemplifies its titular action by transcending the humility of its maker’s introverted demeanor and relatable voice.
Sakamoto leans on the pedal steel as an ambient vessel, spiraling lines around spines of melodic, moody bass.
Leaning somewhat away from trip-hop and toward the more ambient stimuli of his surroundings, Simon Green sounds like he’s in transition, captured between two established ecosystems.
After responding to initial fame and acclaim by moving to a small town, Angel Olsen has quickly solidified herself as one of the brightest lights in music. And with “My Woman,” her new LP, she’s ready to present who she truly is—whether you want to run up that hill with her or not.
Exploring the director’s universe with Fred Willard, Bob Balaban, and Ed Begley Jr.
Imagery of biblical proportion has long been a staple of a proper Bad Seeds record, but never has it felt so unavoidably personal.
Cass McCombs’s eighth album is also his most cohesive since 2011’s “Wit’s End.”
The star of Netflix’s throwback thriller chats about working with Winona Ryder, tragedy, and suspending disbelief long enough to love working in horror.
Dev Hynes grieves and rallies in equal measure on his most ambitious and successful work to date.
Hendrik Weber’s latest solo effort is a “much more personal” experience for the German electronic musician.
Roger Sellers abandoned life as a composer for pop music. If only it were that easy.
Cooking up something good with the eighteen-year-old phenom on the heels of her latest EP “Raceday”—and ahead of much more.
As the world’s most unlikely pop group prepares to release their eleventh album, Avey Tare, Panda Bear, and Geologist spill a little paint.
Despite the good intentions behind this resuscitation of “Music for a New Society,” the unwelcome occupation of those ultra-weighty spaces between renders “M:FANS” a head-scratching exercise in post-analog experimentation.
Over twenty tracks exceeding an hour, the album is a proper evolution of last year’s “Xen,” down to its waxen demonic artwork.
Following two albums of delightfully kaleidoscopic, woozy indie-pop, Youth Lagoon’s Trevor Powers casts some Boise daylight on what has been a pointedly inward operation up to the present.
The illusion of looseness is present in Vile’s nearly slurred phrasing, although the precision of his finger-picking and attention to production value suggests he is nothing if not fully aware of where he is going.
FLOOD 2 cover stars Big Boi and Phantogram talk about the making of their self-titled EP.
A portrait of the Beach Boys leader and Kennedy Center honoree on the occasion of Love & Mercy.
Kozelek is a very talented guitarist and an inspired lyricist, not to mention impressively candid.
Katie Crutchfield takes us through the tracks on her new record, and Merge debut, “Ivy Tripp”; plus, revisiting past relationships, the inspiration of Nicki Minaj, and the sublimity of her surroundings.
Though a front-loaded statement, “Nightmare” suggests that maybe, in addition to figuring himself out, Woodhead is discovering something essential for the rest of us, too.
Though a musical lifer, “Teaspoon To The Ocean” marks Jib Kidder’s first release on the currently vibrant scene of Weird World.
Now, with a title already alluding to the resolution of a sequence, Panda Bear Meets The Grim Reaper’s deeper and increasingly fluid explorations into the vernacular of electronic music have somewhat paradoxically surfaced a tether to the monastic origins of Lennox’s singular vocal style.
The future within (and without) the prognosticatory, labrythine musician in five questions.
What has instead materialized is a batshit Ariel Pink “solo” double album, pom pom, paradoxically culled from the most collaborative recording process of his career.
In addition to writing and directing many iconic films including Dark Star (1974), Halloween (1978), Escape From New York (1981), and The Thing (1982), modern renaissance man…
Last night, Devonté Hynes and lover/collaborator Samantha Urbani took Jimmy Kimmel Live by storm with a refreshingly atypical late night…
After portraying a giant desert Queen and somehow managing to make Google Glass seem attractive, Tahliah Barnett (aka FKA twigs) returns with her next…
Still on the tail end of Tied to a Star, J Mascis‘s second recent solo acoustic record, the folk-via-sludge guitar wizard…
In a glorious turn of events, Ariel Pink has taken his talents to the school auditorium of New York City’s P.S….
Twenty-year-old NYC neo-crooner Elliot Moss has released a Hippie Sabotage remix of his single, “Slip,” the original version of which was released on Moss’s…
Sleater-Kinney is finally good and unrested. Carrie Brownstein, Corin Tucker, and Janet Weiss have announced No Cities To Love, their…
Since its Berlin inception in 1998, Red Bull Music Academy has established itself as a sort of globetrotting hotbed for the…
If you were born in the 1980s and have an active imagination, chances are pretty good that at some point during your…
For hip-hop duo Run The Jewels’ anticipated sophomore album, MCs Killer Mike and El-P have cast a line back into the ’90s…
Earlier this year in deepest summer, a particularly infectious pop jam emerged, seemingly out of the clear azure. Titled “OctaHate,” it was…
Just in time for the holidays, Neil Young will continue fortifying his undisputed post as the most stubbornly relevant golden-age pillar. Storytone,…
As Pink Floyd readies what David Gilmour insists will be its “last thing,” citing keyboardist Richard Wright’s passing as a…
After three self-titled albums’ worth of solid output, singer Alice Glass has announced her departure from Crystal Castles this morning on…
Feeling the energy of this band live in the open air is probably a fun time, but having been vacuum-sealed, Rip City doesn’t have enough to say to justify the leap.
One of the most appealing elements of Christopher Owens’ musical repertoire has always been his preternatural ability to captivate a…
To celebrate tomorrow’s release of You’re Dead!, Steven Ellison’s fifth full-length album under the Flying Lotus moniker, have a look at the…
Piggybacking off of the excellent, unsung Several Shades of Why (2011), Tied to a Star delivers the same type of upfront, post-toasted melancholia, punctuated by swells from J’s overdriven purple Jazzmaster.
Having peeked out from his bedroom nook and dripped through the rafters down into Ty Segall’s garage, Tim Presley hoists the door open to shed natural light upon White Fence’s sixth album, For the Recently Found Innocent.